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  1. 1. 30 Reasons Not To Be in a Play (1st ed. - 08.01.07) - 30reasonsCjrCopyright © 2007 Alan HaehnelALL RIGHTS RESERVEDCopyright Protection. This play (the “Play”) is fully protected under the copyright laws of the United Statesof America and all countries with which the United States has reciprocal copyright relations, whetherthrough bilateral or multilateral treaties or otherwise, and including, but not limited to, all countries coveredby the Pan-American Copyright Convention, the Universal Copyright Convention, and the Berne Conven-tion.Reservation of Rights. All rights to this Play are strictly reserved, including, without limitation, professionaland amateur stage performance rights; motion picture, recitation, lecturing, public reading, radio broadcast-ing, television, video, and sound recording rights; rights to all other forms of mechanical or electronic repro-duction now known or yet to be invented, such as CD-ROM, CD-I, DVD, photocopying, and informationstorage and retrieval systems; and the rights of translation into non-English languages.Performance Licensing and Royalty Payments. Amateur and stock performance rights to this Play arecontrolled exclusively by Playscripts, Inc. (“Playscripts”). No amateur or stock production groups or indi-viduals may perform this Play without obtaining advance written permission from Playscripts. Required roy-alty fees for performing this Play are specified online at the Playscripts website (www.playscripts.com).Such royalty fees may be subject to change without notice. Although this book may have been obtained for aparticular licensed performance, such performance rights, if any, are not transferable. Required royaltiesmust be paid every time the Play is performed before any audience, whether or not it is presented for profitand whether or not admission is charged. All licensing requests and inquiries concerning amateur and stockperformance rights should be addressed to Playscripts (see contact information on opposite page).Inquiries concerning all other rights should be addressed to Playscripts, as well; such inquiries will be com-municated to the author and the authors agent, as applicable.Restriction of Alterations. There shall be no deletions, alterations, or changes of any kind made to the Play,including the changing of character gender, the cutting of dialogue, or the alteration of objectionable lan-guage, unless directly authorized by Playscripts. The title of the Play shall not be altered.Author Credit. Any individual or group receiving permission to produce this Play is required to give creditto the author as the sole and exclusive author of the Play. This obligation applies to the title page of everyprogram distributed in connection with performances of the Play, and in any instance that the title of the Playappears for purposes of advertising, publicizing, or otherwise exploiting the Play and/or a production thereof.The name of the author must appear on a separate line, in which no other name appears, immediately beneaththe title and of a font size at least 50% as large as the largest letter used in the title of the Play. No person,firm, or entity may receive credit larger or more prominent than that accorded the author. The name of theauthor may not be abbreviated or otherwise altered from the form in which it appears in this Play.Publisher Attribution. All programs, advertisements, and other printed material distributed or published inconnection with the amateur or stock production of the Play shall include the following notice: Produced by special arrangement with Playscripts, Inc. (www.playscripts.com)Prohibition of Unauthorized Copying. Any unauthorized copying of this book or excerpts from this bookis strictly forbidden by law. Except as otherwise permitted by applicable law, no part of this book may bereproduced, stored in a retrieval system, or transmitted in any form, by any means now known or yet to beinvented, including, without limitation, photocopying or scanning, without prior permission from Playscripts.Statement of Non-affiliation. This Play may include references to brand names and trademarks owned bythird parties, and may include references to public figures. Playscripts is not necessarily affiliated with thesepublic figures, or with the owners of such trademarks and brand names. 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  2. 2. The Rules in Brief 1) Do NOT perform this Play without obtaining prior permission from Playscripts, and without paying the required royalty. 2) Do NOT photocopy, scan, or otherwise duplicate any part of this book. 3) Do NOT alter the text of the Play, change a character’s gender, delete any dialogue, or alter any objectionable language, unless explicitly authorized by Playscripts. 4) DO provide the required credit to the author and the required attribution to Playscripts in all programs and promotional literature associated with any performance of this Play. For more details on these and other rules, see the opposite page. Copyright BasicsThis Play is protected by United States and international copyright law.These laws ensure that playwrights are rewarded for creating new and vitaldramatic work, and protect them against theft and abuse of their work.A play is a piece of property, fully owned by the playwright, just like ahouse or car. You must obtain permission to use this property, and mustpay a royalty fee for the privilege—whether or not you charge an admission fee.Playscripts collects these required payments on behalf of the author.Anyone who violates an author’s copyright is liable as a copyrightinfringer under United States and international law. Playscripts and theauthor are entitled to institute legal action for any such infringement, whichcan subject the infringer to actual damages, statutory damages, and attor-neys’ fees. A court may impose statutory damages of up to $150,000 forwillful copyright infringements. U.S. copyright law also provides for possi-ble criminal sanctions. Visit the website of the U.S. Copyright Office(www.copyright.gov) for more information.THE BOTTOM LINE: If you break copyright law, you are robbing aplaywright and opening yourself to expensive legal action. Follow therules, and when in doubt, ask us. Playscripts, Inc. Phone: 1-866-NEW-PLAY (639-7529) 325 W. 38th Street, Suite 305 Email: info@playscripts.com New York, NY 10018 Web: www.playscripts.com
  3. 3. To My Daughter Omega
  6. 6. Production Notes This play is designed to be versatile. If it is too long for your purposes, feel free to cut out segments and rename it 29 Rea- sons or 26 Reasons—however many work well for you. The size of the cast can vary greatly as well. Through doubling or tri- pling of parts, you could perform this show with a relatively small cast. On the other hand, you could re-assign lines and perform it with a very large group. Genders, also, can be ma- nipulated by simply changing the names of the characters. Feel free to make these kinds of changes liberally. The intent of the play will not be hurt in the least. 8
  7. 7. 30 REASONS NOT TO BE IN A PLAY A TWO-ACT NON-PLAY by Alan Haehnel ACT I (The cast gathers together on a bare stage—a group of kids in regular street clothes. The full cast will remain onstage throughout the play. As various characters narrate the action, cast members act it out around them. Cast members can also act as furniture and other set pieces where necessary.)1. We are not here to put on a play.2. If you came to see a play, it sucks being you.3. We believe that putting on a play is a bad idea.4. A horrible idea.5. A rotten idea.6. A putrid, stinking, slimy, greenish-liquid-oozing…7. …you’d-rather-kiss-your-brother-full-on-the-mouth-than-have-to-deal-with-this idea.8. We aren’t going to do it. Period.9. So don’t ask.10. Don’t plead.11. And, whatever you do, don’t beg. It makes us sick.12. But we are out here, and you may wonder why.13. We’re out here with a message.14. We’re out here with a warning.15. We’re out here to teach you…ALL. 30 Reasons Not To Be in a Play! Reason Number One…JAKE. Plays suck! 9
  8. 8. 10 Alan HaehnelALL. Reason number two…MISTY. When you were in second grade, you had a teacher namedMiss Griswold. She was older than God and she smelled like stalecoffee and gym socks. When she came in every morning she said…MISS GRISWOLD. Now, students, pay close attention. Focus, fo-cus, focus is the key to success.MISTY. She invented amazing methods of torture using construc-tion paper and popsicle sticks. She turned perfectly normal ques-tions into sadistic games of chance that you would always lose.SHARON. Miss Griswold, can I go to the bathroom?MISS GRISWOLD. I don’t know. May you?SHARON. What?MISS GRISWOLD. May you go to the bathroom?SHARON. That’s what I’m asking. Can I?MISS GRISWOLD. I am assuming that you can, but I don’t yetknow if you may.SHARON. Miss Griswold, I really have to go.MISS GRISWOLD. Then you can go.SHARON. Thank-you.MISS GRISWOLD. But you may not go until I have given permis-sion.SHARON. You just did!MISTY. By that time you had either made a puddle on the floor orhad run out in desperation, a crime for which you paid by writing“I will not run out of the room in desperation” on the board 7 mil-lion times with her breathing on you until you got it done. MissGriswold.ALL. (Sinister intonations:) Miss Griswold!MISTY. You had Miss Griswold and she decided to put you in aplay.
  9. 9. 30 Reasons Not To Be in a Play 11ALAN. You were only in second grade, still in your formativeyears.MISTY. The play was about loving the earth and you spent weekswith your hands in paper-mâché trying to put together the cos-tumes and the props.ALAN. Only seven years old, and so terribly impressionable.MISTY. It was a play Miss Griswold wrote and it had lines in itlike…EMILY. If we don’t get busy and plant all those seeds,The earth won’t be able to meet all our needs!MISS GRISWOLD. No, no, Emily. Put more emphasis on the word“needs.” I want you to really experience that word fully. I want youto taste it in your mouth, do you understand? Say “needs.”EMILY. Needs.MISS GRISWOLD. Say it like you mean it.EMILY. Needs.MISS GRISWOLD. Say it like the most important thing in theworld for you to do is to say the word needs.EMILY. Needs.MISS GRISWOLD. Emily, say it as if I’m going to take you homeand throw you in a hot oven if you don’t say it right!EMILY. Needs! Needs! Needs!MISS GRISWOLD. Much better.MISTY. You were small for your age. Everything was so intimi-dating to you, especially Miss Griswold.ALL. Miss Griswold!MISTY. She made you put on a tree costume. It itched like you hadlice all over your body. When you tried to turn your head you facedthe inside of the tree and you couldn’t see.PETE. (From inside the tree:) Miss Griswold, I can’t see.
  10. 10. 12 Alan HaehnelMISS GRISWOLD. (To EMILY:) Remember now, how are you go-ing to say “needs”?EMILY. With feeling! With passion! I don’t want to go in youroven!MISS GRISWOLD. Stop crying. We’re about to go on. Now whereis my head of broccoli?PETE. Miss Griswold, I can’t…MISS GRISWOLD. Quiet! We’re about to start!ALAN. You felt tiny and inconsequential in a huge, overwhelmingworld and she shoved you into a tree from which you couldn’t es-cape!MISTY. You could barely walk because the tree trunk was so small.You had to take tiny steps just to keep your balance. Only ten min-utes into the play, Jesse Givens, who was dressed as a skunk,bumped into you. You fell.ALAN. At age seven, in second grade, you toppled down, down,down, and your short unhappy life flashed before your eyes!MISTY. You lay on the floor for the rest of the play because yourarms were trapped at your sides. Miss Griswold was whisperingfrantically from the wings…MISS GRISWOLD. Keep going! Keep going, you little delinquents!There’s an audience out there! Don’t you dare stop!ALAN. No child should have to endure such trauma!MISTY. No one stopped the play to help you up and by the secondact of this five-act epic called “Mother Earth is Your Patient andYou Are the Nurse,” everyone had forgotten you were inside thepapier-mâché tree and they started to sit on you during theirscenes.ALAN. Such stress!MISTY. The papier-mâché buckled over your face and you weresure your classmates dressed like skunks and chipmunks and flow-ers were going to come crashing through your costume and suffo-
  11. 11. 30 Reasons Not To Be in a Play 13cate you! Hour after hour you could only lay there and stare at yourown bark as your classmates recited their horrible lines!JANE. Oh, earth, oh, earth, we love you like crazy.We’re sorry we sometimes get sloppy and lazy.STEWART. The trees all around, like maple, beech and ashJust shouldn’t have to put up with all of our trash.MISTY. When the play was finally over and everyone had takentheir bows and had exited the stage, you were still left there, a fallenand forgotten tree feebly calling for help. By the time your motherfound you, you had given up and gone to sleep. And in that sleep,you had your first nightmare where Miss Griswold was a giant treecoming at you with a thousand play scripts hanging from herbranches and you couldn’t run, you couldn’t scream, you couldn’tmove. That dream came back night after night for weeks andmonths. Eventually, you had it less and less often but every timeyou have it, even last week, you wet your bed.ALAN. A classic case of post-traumatic stress syndrome. You poor,poor child.MISTY. So anytime you hear someone talk about a play you smellpapier-mâché and you see the inside of a tree and you hear MissGriswold’s voice saying…MISS GRISWOLD. Needs! Needs!MISTY. And you walk away, very, very quickly.ALL. Reason Number 3!JULIE. Because you’re a fast talker. You come from a family of fasttalkers and if there’s such a thing as a gene for fast talking you havedefinitely inherited it and if you were in a play you’d memorizeyour lines and all that but you’d say them too fast and you knowthe director would say…JULIE’S DIRECTOR. Take it slower.JULIE. And you’d know you’re supposed to take it slower and youwould say to yourself over and over, “Talk slower, talk slower,” butwhen you worried about it you’d get tense and when you got tense
  12. 12. 14 Alan Haehnelyou’d talk even faster so the director would start to get mad andhe’d say…JULIE’S DIRECTOR. You have to talk slower!JULIE. And you’d practically be screaming at yourself inside your-self and beating yourself up because you’d know you were stilltalking too fast but you’d be getting so nervous about it you’d begetting faster and faster so the director would lose his patience fi-nally and yell…JULIE’S DIRECTOR. Slower!JULIE. And that would make you go so fast that you never eventook a breath and you’d go and go and go and go and go and go sofast that you ran completely out of air but still you’d be tellingyourself to slow down so the director wouldn’t yell at you becauseyou hated that but you couldn’t stop racing and racing until finallyyou just… (JULIE passes out.)5. It’s all right. She does this. She’ll be back.JULIE. Hello. Did I talk and talk and talk so fast and so nervousthat I actually passed out?5. Yup.JULIE. Again?5. Yup.JULIE. Good thing I wasn’t in a play.ALL. Reason number 4!MANDY. Plays take passion and devotion and commitment. Youcan’t afford to expend any of those things on a play when TravisThorburn is alive. Look at him! (The cast starts to hum a hymn of religious devotion.)All passion, all devotion, all commitment you must direct at himand him alone. Listen, Travis Thorburn is your everything. He isyour sun and your moon and your breakfast cereal. He is your
  13. 13. 30 Reasons Not To Be in a Play 15waking and your sleeping and your daydreams and your night-dreams. He is the taste of toothpaste. He is the cool breeze in yourface. Every breath you take in should be exhaled with a single pur-pose: to say the name Travis.ALL. Travis, Travis, Travis.MANDY. Every thought you form should have but a single inten-tion: to visualize Travis.1 T. I think I see him!2 T. He looks like a great silver cloud hanging in the sky, the sunstreaming through him.3 T. He looks like an enormous plate of lasagna, bubbling withcheese.4 T. Like a Greek statue!5 T. Like a Roman coliseum!6 T. Like a ticket to the Super Bowl!MANDY. Like…like…like Travis Thorburn.ALL. (Sighing:) Travis.MANDY. Do you know what some people do at the end of a play?They bring flowers to the performers!7 T. Here you go, Sweetie. Nice job!MANDY. (Grabbing the flowers, accosting the flower-bringer:) That is acrime, a sin, an act of utter blasphemy because all of the flowersgrown in this world are grown to be strewn at the feet of one per-son and one person only (Laying the flowers at his feet:) Travis Thor-burn. With Travis Thorburn in the world, can you take time to thinkabout a play, practice for a play, memorize for a play, be in a play?ALL. Hell, no!MANDY. How can you even consider it? Look at him! Behold thegreat Travis! What more can you do than try not to faint when hewalks into the room? And if he should ever say to you…TRAVIS. Get lost. I have a girlfriend.
  14. 14. 16 Alan HaehnelMANDY. …what more can you do than feel your aching heartburst into a billion bloody pieces? What more can you do than justlay down and die? (The cast members lie down as if dead. After a second, they sit up suddenly.)ALL. Reason number 5!MEG. Because your older sister was in a play and she said sheloved it so you have to hate it. It’s a law.ALL. Reason number 6!ROB. The play might have a part where you’re supposed to holdhands with the person next to you and the person next to you mighthave these wart-like things on their fingers and you’ll feel them asyou’re holding hands with them and you’ll be thinking the wholetime you’re holding hands with them how their hand feels like atoad and you’ll be worrying that the wart-like things might be con-tagious and you’ll start seeing yourself covered with these wart-likethings from head to toe, I mean, every body part including yourface and your elbows and even your navel and you’ll practicallypuke! So it’s definitely not worth the risk.ALL. Reason number 7!DOUG. Because you remember Susie Jenson. When you were six,you lived in a neighborhood that had a lot of old people, trees,dogs, fences and just one other kid your age: Susie.SUSIE. Hey!DOUG. Since you were the only other kid Susie’s age, she decidedyou must be her best friend.SUSIE. Hey, best friend, let’s go play!DOUG. Since—amongst the trees, fences, dogs and old people—there was only one other kid your age, your parents assumed youwanted to be with Susie.DOUG’S PARENTS. There’s Susie. Go play!
  15. 15. 30 Reasons Not To Be in a Play 17DOUG. But, in truth, Susie Jenson—whom you could not escape—bugged the living heck out of you. Why? Because every day, everysingle day, she wanted to do the same thing.SUSIE. Let’s put on a play!DOUG. And every play, every single play, she wanted to be thesame thing.SUSIE. I’ll be a fairy.DOUG. And then Susie, the fairy, would proceed to tell you everypossible way you could enact her supporting role.SUSIE. Yeah, I’ll be a fairy, and pretend that I got caught on athornbush on a thorn and I was bleeding and you could be the am-bulance guy that comes to save me, okay?DOUG. Hour after hour with Susie.SUSIE. I’ll be a fairy, and you could be my wings. Stand behind meand flap, okay?DOUG. Day after day with Susie.SUSIE. So, listen, I’ll be a fairy and you can be this mean dragonthat eats dirt and spits it at me. Go ahead. Eat some dirt.DOUG. The weeks, the months, the eternities with Susie and herfairy variations.SUSIE. I’m going to be a fairy and let’s pretend that I broke mywing so I couldn’t fly but then I ran into Aladdin and he said Icould borrow his flying carpet. You can be the carpet. Just lie downand I’ll get on your back. And then I can be flying through the airand you can just bounce up and down on your belly like we’re hit-ting some rough spots in the clouds and then—oh, yeah!—then yoube like a fairy-hating demon that pulls the carpet out from underme. You would just have to roll over for that part. But then I couldfight you and I could win by hitting you on the head over and overwith my wand. Let’s do that, okay?DOUG. Susie. Susie Jenson. The torturing fairy of your childhood.So now, whenever anyone mentions being in a play, you think of…
  16. 16. 18 Alan HaehnelSUSIE. Hi. It’s Susie. You want to come over and play? I’ll be afairy and you could be a little bug I accidentally squish to death.DOUG. And you curl up in the fetal position and refuse to eat orspeak for a month.ALL. Reason number 8!MEGAN. Because rehearsals and performances will make you runthe risk of not monitoring your cell phone and your e-mail on aregular basis. That’s very dangerous. Because, yeah, most of whatyou get are meaningless bits of gossip and Viagra ads, but younever know! The one cell phone call might come, the one e-mail thathas to be replied to within five minutes, the one message that willcompletely change your life. Okay, so it’s never happened to youbefore and it’s never actually happened to anyone you know butthat doesn’t matter. It could happen! (Her cell phone rings.) Hello?No, this isn’t Carma’s Tattoo Emporium. No, I do not want to get atattoo there, thank-you. (She hangs up, looks back out at the audience.)It could happen!ALL. Reason number 9!BILL. Because meteorologists tell us that the beating of a butterfly’swings in South America can trigger a chain reaction that can even-tually cause a hurricane to develop half-way across the world.WEATHERMAN. We can expect sunny skies for the next threedays—absolutely gorgeous weather, with a tanning index of 10.Our weather right now is dominated by a sweet and generous highpressure system that should keep us happy for a good long time.BILL. Putting on a play, with its lines and movements and all, willgenerate a significant amount of wind and hot air. By consulting theNational Bureau of Weather Predicting Guys, with their numerouslarge computers and clipboards…GEEK 1. If we take the barometric pressure and divide it by the av-erage rainfall of the eighth most arid region of the Sahara Desert…GEEK 2. And we take the inverse proportion of the geometric iso-metric idiosyncratic quadratic equation…GEEK 3. And two plus two equaling four…
  17. 17. 30 Reasons Not To Be in a Play 19GEEK 4. I think it’s going to be a nice day.BILL. And by consulting with all of the old people sitting on thepark benches gumming tuna fish sandwiches…OLD 1. Say, you remember back in ’54 when we had that big hail-storm that took the roof off the old McGiven’s place?OLD 2. That wasn’t in ’54, you ninny! That was in ’58. ’54 was theyear we had the ice storm that took the tree down next to the tur-pentine factory.OLD 3. Well, all I can tell you is we’re gonna have good weather forthe next couple of days. My bunions ain’t aching.OLD 4. And my scalp ain’t itching.OLD 5. And my arthritis ain’t flaring up.BILL. And by consulting with your step-brother who recently al-most passed his tenth year of high school…REED. Uh…No clouds. Guess I’ll go outside today.BILL. By consulting all of these expert opinions on the weather, youcan see the kind of disastrous weather that putting on a play willtrigger.WEATHERMAN. So if you’ve been planning on getting some va-cation time, you should certainly take it…Wait a minute! This justin! A sudden disturbance in the air flow has radically changed theforecast. Forget all that I just said! We’ve got a massive storm com-ing our way! Rain, snow, sleet, hail, high winds, all are about toclobber us in less than twenty-four hours! Expect massive poweroutages! Normally, I would tell you not to panic, but, in thiscase…panic!GEEK 1. These numbers can’t be right! According the algorithmicconfabulation of the tenth power of the 39th parallel…GEEK 2. …adding in the square root of pi in which the numeratorsub-dissects the denominator…GEEK 3. …and putting the hard-drive into overdrive we see that…GEEK 4. We’re gonna get clobbered!
  18. 18. 20 Alan HaehnelOLD 1. Oh, boy, I’m aching!OLD 3. Mother McCree, my bunions are about to explode.OLD 4. Feel that vein on my forehead! Feel it pulsing! It hasn’tpulsed like that since the Winter of ’02!OLD 2. Run for your lives, you old coots! Head for the Bingo Halland crawl under a table if you know what’s good for you!REED. Uh…Getting cloudy. I’ll stay inside.BILL. Mother Nature’s fury unleashed…W 1. Listen to that wind howl!W 2. Look at the size of that hail!W 3. We’re never going to survive this!BILL. …causing massive power outages… (The lights go out.)ALL. Who turned out the lights? (The lights come back up.)BILL. …food shortages, fear and trembling, panic in the streets,weather-induced chaos and pandemonium, all because…TELEVISION REPORTER. Clean-up after the biggest storm of thecentury has barely begun. The governor estimates damages will bemeasured in the billions of dollars, not to mention the untold livesdisrupted. The nagging question, of course, is what triggered thismassive storm? What disturbance in the air could have started it?We have here an expert in the field, Reed Brown, who recently al-most passed his tenth year of high school. Reed, to what do you at-tribute this disaster?REED. Uh…somebody put on a play.ALL. Reason number 10!JAKE. Plays suck!ALL. Reason number 11!
  19. 19. 30 Reasons Not To Be in a Play 21CECILY. Because you’re just, you’re just, you’re just too shy.You…you can barely get two words out of your mouth in front, infront of, of an audience. Whenever you have oral presentations inclass, you, you, you, you just take a zero. If somebody tries to forceyou, you start to cry. A play? Oh, no, no, no. You’re painfully shy.That would kill you. You would just die from embarrassment,staring out at those lights, knowing that people are sitting there,judging you—judging what you’re wearing, what you’re saying,the way you’re standing. You’d be mortified! I mean, it’s a com-pletely unreasonable request, to ask you to be in a play. They mightas well tell you to stand against the wall so they can assemble a fir-ing squad and have you shot, right? You’re shy, remember? Hands-freezing, armpits-dripping, knees-knocking, head-pounding shy! Isthat a problem? Is it? Just because you’re shy, can’t you be allowedto just stay in a corner and be that way, or does this society abso-lutely require that, no matter how traumatic it might be, you haveto get up on stage and do whatever some script requires? You’reshy, darn it! Shy, shy, shy! So what, if the script says sing the ABC’slike an opera star, do you have to go ahead and start singing away?(Singing like an opera star:) A-B-C-D-E-F-G! That’s way too much toask of a shy person, I’m telling you! If the script should require thatyou grab some strange guy (She grabs a boy and interacts with himthrough this next segment:) and hold him close to you like he’s yourfavorite teddy bear; if it commands that you stroke his hair andgrab his shirt as if you can’t live without him…are you supposed tojust go ahead and do that? No! You’re too shy! If they script calls foryou to kiss him passionately… (She moves as if she is going to do that.The boy breaks away.)BOY. No, no, no. I’m saving myself.CECILY. You see! He’s too shy for that and so are you! You can’t bein a play and you can’t sing opera and you can’t grope some guyand you just can’t possibly make a fool of yourself in front of acrowd full of people because (Screaming, emphasizing every word withhuge energy:) YOU ARE JUST WAY TOO AMAZINGLY, INCREDI-BLY, PITIFULLY… (Suddenly pausing, realizing the irony, and backingoff to a whisper:) …shy.ALL. Reason number 12!
  20. 20. 22 Alan HaehnelSAUNDRA. Your Great Aunt Gladys.NICK. Great Aunt Gladys, now 97, is an amazing woman, accord-ing to the local family lore. At reunions, everyone over the age of 35has an Aunt Gladys story.UNCLE NED. She used to be a trapeze artist with The RinglingBrothers Circus. I once saw her do a triple flip and land on the backof a stampeding elephant, never losing a single pedal off the roseclenched in her teeth. What a woman!AUNT BLANCHE. Aunt Gladys. Why, she ran for Presidentonce—did you know that? Richard Nixon refused to debate her be-cause she was just too darned tricky for him. What an inspiration!COUSIN SKIPPY. Aunt Gladys could do 350 push-ups at the ageof 65. A wonder!AUNT CAROLE. One Thanksgiving, she ate the entire turkey her-self, plus all the fixings! A marvel!UNCLE STEWART. That Gladys. Why, she could simultaneouslywrite Russian with one hand, Swahili with the other all the whilesinging an Italian Aria! A delight, she was!SAUNDRA. But what is Great Aunt Gladys to you?NICK. This inspirational, wonderful, marvelous, delightful…SAUNDRA. push-upping, elephant-landing, super-debating…NICK. ambidextrous, linguistically-gifted, turkey-gobbling whiz-bang of a woman?SAUNDRA. What is she to you?NICK. To the family, she is…PRAISING FAMILY MEMBERS. Super-duper!SAUNDRA. To you, she is… (GREAT AUNT GLADYS enters, looking highly disgusted with life. She walks like a very old woman, but her back is extremely straight.)NICK. A surly old lady with the face of a dried crab apple.
  21. 21. 30 Reasons Not To Be in a Play 23SAUNDRA. Every part of her looks exactly 97 years old.GREAT AUNT GLADYS: Had my birthday yesterday. It stunk.NICK. Every part of her looks antique except…her back.SAUNDRA. Her back is so straight you’d swear she had a two byfour surgically implanted.GREAT AUNT GLADYS. (To audience:) Look at you, you slobs. Situp!NICK. To them:COUSIN SKIPPY. (To the other admiring family members:) Do youknow she once juggled three running chainsaws and a live bearcub?GREAT AUNT GLADYS. That little furry little mammal nippedme, too.ALL ADMIRING FAMILY MEMBERS. She’s splendiferous!SAUNDRA. To you, Great Aunt Gladys is…GREAT AUNT GLADYS. But you better believe I kept my backstraight through the whole routine!NICK, SAUNDRA. The Posture Nazi.SAUNDRA. Apparently, Great Aunt Gladys, at age 97, no longerable to juggle chainsaws or eat whole turkeys…GREAT AUNT GLADYS. But I’ve still got all my teeth. Look atthese chompers. (She claps her teeth together.)SAUNDRA. Apparently, she has no life now and so she spends herwaking hours attending every possible family event including butnot limited to…NICK. Christmas, concerts, parent-teacher conferences, routinedental exams…SAUNDRA. And, of course—your school play.ALL ADMIRING FAMILY MEMBERS. Great Aunt Gladys: Wow.
  22. 22. 24 Alan HaehnelNICK, SAUNDRA. Great Aunt Gladys: Ow. (PAM comes out, trying to cross the stage unnoticed by GREAT AUNT GLADYS.)NICK. So. You just finished your school play where you had threeroles—a shrub, a frog and a Martian. And now that the play is over,you must face her. If you hope to remain a member of the Kinder-sloggin clan…SAUNDRA. Yes. You and Great Aunt Gladys, who never married,do share the same surname: Kindersloggin.PAM’S MOTHER. Pam, where are you going? You must go talk toher.PAM. She scares me.PAM’S MOTHER. Ask her what she thought of your show.PAM. I’ll have nightmares.PAM’S MOTHER. You should be ashamed. Did you know that sheonce swam the entire English Channel underwater?PRAISING FAMILY MEMBERS. (To the tune of the final portion ofHandel’s Hallelujah Chorus:) Aunt Gladys, she’s amazing, she’s as-tounding, forever!PAM. She is one day going to look at me and I will turn to stone.PAM’S MOTHER. Oh, now! (GREAT AUNT GLADYS stomps her foot.)She’s stomping. She wants you.PAM. She’s going to eat me like a turkey!GREAT AUNT GLADYS. Where is my great, great niece PamelaKindersloggin?PAM’S MOTHER. I’ll be in the other room. (She exits.)PAM. But…
  23. 23. 30 Reasons Not To Be in a Play 25 (GREAT AUNT GLADYS stomps again.)NICK. The stomp of Great Aunt Gladys is like a notice from theIRS. You don’t ignore it.PAM. (Approaching GREAT AUNT GLADYS slowly:) He…hello,Great Aunt Gladys.GREAT AUNT GLADYS. Hello, yourself. Stand up straight! Areyou a Kindersloggin or aren’t you?PAM. Yes, I am, sir, ma’am, yes! How…how did you like the play?I was in?GREAT AUNT GLADYS. Hated it! You slouched through thewhole first part.PAM. Yes, but I was a shrub. A curved shrub. The director told meto do that.GREAT AUNT GLADYS. You slouched again in the second part,when you had that one line.PAM. You mean when I said, “Glorp”?GREAT AUNT GLADYS. That one. You were bent over like…likesome kind of bent over thing. What were you, ashamed of theKindersloggin name?PAM. No! That was my frog line. I was a frog then. Frogs, youknow, slouch. They have a sort of curved, uh, amphibian backbone,or…GREAT AUNT GLADYS. And what in the Sam Hill were yousupposed to be near the end, anyway, when you had those pipecleaners shoved into your head?PAM. That…that was my Martian role. Those were my antennae.Except one sort of started to fall off because…GREAT AUNT GLADYS. You slouched in that part, too.PAM. Well, the director told me…
  24. 24. 26 Alan HaehnelGREAT AUNT GLADYS. Director? Director? Who in the heck isthis director character? Show me this director individual. I want totalk to this director nut-job.PAM. Well, I…he…I mean…SAUNDRA. The last thing you want to do is have your Great AuntGladys meet your director, who happens to be a fairly nice guywith only mild delusions of grandeur.MR. GRAY. (The director.) For this play, you must understand, I amGod. Consider yourselves my planets, all revolving around me, thesun, the center of your solar system. I control your orbits. I allowyour days to be days, your nights to be nights, your everythings tobe everything. In short, do exactly as I say. Oh, yes—Pam?PAM. Yes, Mr. Gray?MR. GRAY. When you play the Martian near the end, slouch a bitmore.GREAT AUNT GLADYS. I want to meet this so-called director ofyours who wants you to betray your sense of self-worth and thehighly-esteemed name of Kindersloggin by giving you bad posture.MR. GRAY. The frog character should be very slouchy, Pamela.GREAT AUNT GLADYS. You want to play a frog, play a frog—but do it with dignity! Stand up straight!PAM. But…but…NATE. You will be caught between the dictates of your director,Mr. Gray…MR. GRAY. And the shrub. The shrub should be bent. Hunched.Crouched. Very slouched.SAUNDRA. And the commands of the most holy member of theKindersloggin family.ADMIRING FAMILY MEMBERS. (Still with the Hallelujah Chorustheme:) Aunt Gladys, Aunt Gladys, forever, forever.
  25. 25. 30 Reasons Not To Be in a Play 27GREAT AUNT GLADYS. Tell him you won’t play a bush! Tell himyou’ll play a tree—a straight, proud, foliage-covered tree! That’swhat I say!NATE. You’ll be caught!SAUNDRA. Conflicted!NATE. In danger of violating sacred family ties!MR. GRAY. Pamela, are you listening?GREAT AUNT GLADYS. So what are you going to tell that moronof a director? Let me hear it.PAM. I…well…I…you see…I…GREAT AUNT GLADYS. Stand straight! Speak up!PAM. Great Aunt Gladys, you’re an amazing woman and you’veclimbed the Alps thirteen times blindfolded but I have to slouchwhen the director tells me to slouch! (As the ADMIRING FAMILY MEMBERS sing the concluding Allelujahs of the chorus, GREAT AUNT GLADYS clutches her heart.)ADMIRING FAMILY MEMBERS. Allelujah, Allelujah…All-le-lu… (AUNT GLADYS keels over. The ADMIRING FAMILY MEM- BERS look at her, then at PAM. In unison, they accuse her:)You killed Aunt Gladys!SAUNDRA. And that, in terms of your relationship with your fel-low Kindersloggins, would be a bad.NATE. Very.ALL. Reason number 13!MAVIS. Your mother wrote you a note that said, “Mavis is allergicto plays. If she is in one, she will break out in hives. Her legs willswell to five times their normal size and she will begin to sneezeuncontrollably. Please excuse her.”
  26. 26. 28 Alan HaehnelALL. Reason Number 14!ZACH. Because you’ll get all done with the play. You’ll be in it andyou’ll think you did a good job. You’ll be feeling okay about thewhole thing, thinking “Hey, that wasn’t too bad.” You’ll go outwith the cast to get some pizza and you’ll hang around with themfor a little while talking about how it went and everybody willpretty much agree that the whole thing was a kick. Then you’ll gohome. You’ll walk in the door and you’ll have this conversationwith your mother:CHRIS. Hi.MOM. Well, you’re home.CHRIS. I’m home.MOM. You’re a bit later than I thought you would be.CHRIS. The pizza took a long time.MOM. You had pizza.CHRIS. Yeah.MOM. I hope you didn’t have any pepperoni.CHRIS. Yeah.MOM. Yeah, what? Did you have pepperoni?CHRIS. I don’t remember.MOM. You did.CHRIS. I don’t remember.MOM. If you’re telling me you don’t remember then you wentahead and had the pepperoni which always gives you the gas.CHRIS. Okay, so I had pepperoni. I’ll try not to get the gas.MOM. It doesn’t make any difference if you try or not; you’ll get it.You won’t be able to help it in your sleep.CHRIS. Okay, okay, I’ll close the door.
  27. 27. 30 Reasons Not To Be in a Play 29MOM. Like that will help. You’ll just bottle it up all night and whenI open the door in the morning, I’ll be killed.CHRIS. It’s not that bad.MOM. You should not eat the pepperoni. Promise me you’ll nevereat the pepperoni. It’s not good for your system.CHRIS. I promise, I promise. So…how did you like the play?MOM. Oh, it was good.CHRIS. How did I do?MOM. You did just fine.CHRIS. And?MOM. And what?CHRIS. You might as well go ahead and say it.MOM. Say what?CHRIS. Say what you didn’t like about it, what you didn’t likeabout my performance.MOM. I didn’t say I didn’t like anything about it. I said it wasgood. I said you were fine. What’s wrong with being good and fine?CHRIS. Your good and fine always has a “but” attached to it. So goahead and tell me.MOM. What? I don’t have a but, except the one I’m sitting on.CHRIS. Very funny. Tell me, Ma.MOM. I don’t have anything to tell you. The play was good. Youwere good. You were good in the good play.CHRIS. But…MOM. Why does there have to be a “but”?CHRIS. I don’t know why there has to be a “but,” but there alwaysis a “but” and you can’t stand not to tell me about it so if you don’ttell me now you’ll probably come in at 1:00 in the morning andwake me up to tell me or you’ll decide you’ll have to tell me just as
  28. 28. 30 Alan HaehnelI’m heading out the door to go someplace important so go aheadand tell me now.MOM. Well, maybe, just maybe, Mr. Smart Aleck, I don’t have any“but” this time.CHRIS. Oh, now I know you do. If you try to deny it, it’s big.MOM. Oh, really.CHRIS. Yes, really. A majorly huge “but” is now hanging in the airabove us.MOM. Well, it will just have to hang because…I don’t have one.CHRIS. Uh-huh.MOM. That’s right.CHRIS. The play was good.MOM. It was.CHRIS. I was good.MOM. You were.CHRIS. Great. I feel good about myself, then. I’m glad you enjoyedit. Thanks for coming, Ma. I’m going to bed.MOM. There was one thing.CHRIS. I knew it!MOM. I didn’t say “but”!CHRIS. “There was one thing” is the same as a “but”!MOM. It is not!CHRIS. It is so!MOM. All right, fine, it is! What do you want, perfection? I’m yourmother, a thinking human being, believe it or not, so when I go to aplay or any other function, I just might have a criticism or two. Isthat a crime?CHRIS. I am so tired.
  29. 29. 30 Reasons Not To Be in a Play 31MOM. So go to bed. I’ll tell you about my “but” in the morning.CHRIS. No, no, go ahead now.MOM. You’re tired.CHRIS. I’m fine! I am fine! Just like I was in the play—fine! Except,there was at least one little problem, wasn’t there? Wasn’t there?MOM. Well…no, you go to bed.CHRIS. Let me help you, Mother. Repeat after me: I liked the play.MOM. I liked the play.CHRIS. I liked your performance.MOM. I liked your performance.CHRIS. But…MOM. But…CHRIS. Now fill in the blank. I’m listening.MOM. Well, there are a few things, actually.CHRIS. Oh, goody.ZACH. And then you will be up until two thirty in the morninglistening to the woman take that good feeling you had and twist itand twist it like a dirty Kleenex until you never want to hear theword play again.ALL. Reason Number 15!JAKE. Plays suck!NORA. Jake, that was reason number one and seven. Can’t you tellus anything more?JAKE. Yeah. Plays suck a lot!NORA. Could you be more specific?JAKE. You want me to be more specific? All right, I’ll be more spe-cific. Plays suck because they’re full of…
  30. 30. 32 Alan Haehnel (Someone claps a hand over JAKE’s mouth as he goes off, screaming obscenities.)CENSOR. This monologue has been reviewed by the NationalScript Board and found unfit for adolescent consumption.JAKE. (Breaking free for a moment:) You can take all of your playsand you can shove them… (Hand back over his mouth.)CENSOR. If you wish to read an unedited version of Jake’s mono-logue, you can find it on the Net at www.playssuck.edu.JAKE. (Free again:) And that’s why plays suck!1. On that note, we believe it is time for a little break.2. Go the bathroom, call your mother, eat a snack…3. Check your oil, change your transmission…4. Hold a brief séance to communicate with the spirit of your deadcanary Alphonse…5. Whatever you do during breaks…6. If this were a play, we would call it this little time-out an inter-mission, but remember…7. This is not a play.8. This is a lesson.9. This is a heavy dose of wizzzdom.10. So take a break.11. Come back alert.12. Come back ready to learn the rest of our…ALL. 30 Reason Not to be In a Play! (Lights down.) End of Act I
  31. 31. ACT II (Same opening as for Act I—all of the actors out on stage.)13. Before we begin again, some of you may be wondering why wehave undertaken this cause of ours.14. Some of you may be thinking, “Why so much energy on show-ing why not to be in a play?”15. We’ll tell you why.1. Because somewhere in this nation of ours, the natural order isbeing violated.2. Yes! Unbelievable and horrifying as it may seem, at this verymoment some unsuspecting child may be bursting through thedoor of her abode and happily shouting…TABITHA. Hey, Mom, guess what? I’m going to be in a play!3. And instead of the appropriate response that child should get atsuch an ominous pronouncement…TABITHA. Mom? Where are you?TABITHA’S MOM. Tabitha, I’m here. What did you just say?TABITHA’S BROTHER. Tab, did you just swear?TABITHA. No, I just said…TABITHA’S NEIGHBOR. I was just across the street giving CPR tomy favorite cat when I thought I heard my favorite little neighborgirl say something terribly disturbing.TABITHA’S MOM. Say it again, Tabitha—slowly.TABITHA. (Slowly:) I got a part in the school play!TABITHA’S MOM. No! Good Lord, no!TABITHA’S BROTHER. What were you thinking? What’s thematter with you?TABITHA’S NEIGHBOR. I knew I should have moved after theyfound that cyanide in the water supply. Now this! 33
  32. 32. 34 Alan HaehnelTABITHA’S MOM. Where did I go wrong? I tried to be a goodmother!TABITHA. But I…TABITHA’S BROTHER. Mom, it’s not your fault. (To TABITHA:)See what you’ve done!TABITHA’S NEIGHBOR. I’m calling 9-1-1. I’m calling the movingtruck!TABITHA’S MOM. I’m a failure!TABITHA’S NEIGHBOR. I’m calling an exorcist!4. Instead of that completely natural and appropriate response,somewhere in this great but confused country of ours, this is hap-pening:SAMMY. Hey, Mom, Dad, Jenny, Sarah…hey, everybody!SAMMY’S DAD. What’s up, Sammy?SAMMY’S SISTER. Who’s doing all the yelling?SAMMY’S MOM. Honey, what’s the matter?SAMMY’S SISTER. This better be good, Squirt.SAMMY. Everybody, I have something very, very, very importantto say. It’s big. It’s serious.SAMMY’S SISTER. Well?SAMMY’S DAD. Out with it, Sam; I’ve got crab grass to murder.SAMMY. I…got a part in the play! I’m going to be in the play! (The family freezes, shocked, then erupts into shouts of congratula- tions, hugging SAMMY. The others witnessing this scene look dis- gusted.)ALL OTHERS. Sick!5. Impossible as it may seem, children of all ages are continuing tocontract this scourge called drama.1. And are actually being congratulated for it!
  33. 33. 30 Reasons Not To Be in a Play 35ALL BUT SAMMY AND FAMILY. Really sick!6. That is why we are out here, generously contributing our time…7. Our talents…8. Our energy…9. Our quality hours glued to the television screen…10. To bring you…ALL. 30 reasons not to be in a play! (Pause.) Reason number 16!MIA. Abraham Lincoln! (Everyone looks at her. She looks back, nodding her head knowingly.)MIA. Oh, yeah. (After another pause, everyone turns back to the audience.)ALL. Reason number 17!TOM. Because your father has a mental disease.JESS. Dad, what are you doing?JESS’S DAD. Don’t mind me.TOM. He has an unnatural affection for an inanimate object.JESS. Dad, I’m studying.JESS’S DAD. Study away.TOM. He is in love with his…JESS’S DAD. I’m just adding to the family archive with my…TOM, JESS’S DAD. Ultra-zoom, hyper-pixelated, extremely ex-pensive digital camera. (As JESS’S DAD circles around taking photos.)TOM. Not only is he compelled to take hundreds of pictures of youand your fellow family members, he has to show you every shot.JESS’S DAD. I like this one here. You look—I don’t know—pen-sive.
  34. 34. 36 Alan HaehnelJESS. Dad, please.JESS’S DAD. I know, I know, I’ll leave you alone. Your mother isclipping the dog’s nails; I’m going to get that.TOM. You being in a play—a golden photo opportunity even for anormal parent—would be disastrous in your household.JESS’S DAD. You’re in a play?JESS. Dad, don’t overreact. You don’t need to…JESS’S DAD. I have to get this! I need at least 50 shots of you at themoment I first found out!TOM. It would move him from neurotic to psychotic.JESS’S DAD. And then 50 more of me at the moment I first foundout.TOM. From annoying to insufferable.JESS’S DAD. Honey, that was a great first rehearsal.JESS. Dad, all we did was read through the script.JESS’S DAD. I got 427 shots before I had to switch batteries. Comelook at these!TOM. He will no longer be your dad. He will become a live-indigital photo stalker.JESS’S DAD. Here is one of you trying on your costume! Andhere’s one of you trying on your costume a half-second later! Andhere’s one of you…JESS. Dad! I need to get some sleep!JESS’S DAD. In a minute! Here’s a great shot of your director try-ing to hit me with his clipboard. And here he’s about to call me a…JESS. It’s three o’clock in the morning, Dad.JESS’S DAD. You know what? I think I’m going to buy anothercamera for opening night! I’ll be able to capture every moment.TOM. As the weeks go on, your patience will erode.
  35. 35. 30 Reasons Not To Be in a Play 37JESS. Dad, I’m warning you. Do not come to rehearsal.JESS’S DAD. Look at the pictures I’m getting with this new lens!Wow, talk about definition. That vein on the director’s foreheadstands out like a swollen river!TOM. As your father sinks deeper into his madness, you exaspera-tion will rise into desperation.JESS. Dad, no more! If I look at another picture, I swear I will not beaccountable for my…JESS’S DAD. Look at this great shot of you pulling your hair sohard the roots are bleeding!TOM. You will snap. (Throughout the final segment of this sketch, JESS stands to the side with a malicious grin spreading wider and wider on her face until the end when, as her father is going crazy, JESS’s grin looks positively demonic.)JESS’S DAD. Hey. Hey! Where is my camera?TOM. You will commit a heinous crime.JESS’S DAD. I can’t find my camera! I only took it off my neck for asecond and now I can’t…TOM. You will enjoy his pain.JESS’S DAD. Oh my…what is that glinting out on the lawn? Itlooks like shards of metal and glass! It looks like the destroyed re-mains of…TOM. You will discover a sadistic side you never knew existed.JESS’S DAD. My camera!TOM. Your father—and you—will never be the same again.JESS’S DAD. I once had a camera. A pretty little camera. A cuddlycamera. I sang to it. I took pictures with it. Until it got… I once hada camera. A pretty little camera.ALL. Reason number 18!
  36. 36. 38 Alan HaehnelKIM. Because if you’re in a play, when the play is over, they’ll wantto have a cast party, which is okay, except that it will be at this boynamed Peter’s house who you find fairly attractive which is okayexcept that sometimes when you look at the shape of his face andthe depth of his dimples you start to wonder about the names andgenders of the offspring you might produce together which is okayexcept that he has no idea you have a crush on him which is okayexcept that at the cast party at his house, Peter’s mother is going tomake this pink, fluffy salad sort of stuff with Cool Whip and straw-berry Jell-O and canned fruit cocktail in it which is okay except thatwhen you were four years old you sort of loved the stuff so muchthat you sneaked a huge bowl of it off the buffet table one NewYear’s Eve and sat under the table with the bowl and a soup spoonand by the time your parents finally found you, you had prettymuch o.d.-ed on the stuff which is okay except now every time youeven look at the pink fluffy stuff you get that pukey feeling which isokay except at the cast party somebody will put a big mound of thestuff with little bits of fruit poking out of it like body parts in azombie movie and they’ll hold it right up to your face, right underyour nose, and they’ll say, “Don’t you just loooove this pink fluffystuff?” which is okay except not only will you get that pukey feel-ing but you’ll actually know you’re about to worship the porcelaingod which is okay but before you can sprint to the bathroom whowill end up right in your path but your future husband for all timeand eternity, Peter, who will be about to smile and show you hisdimples when you’ll suddenly make that horrible “raaalph!” noiseand you’ll vomit all over the brand-new jet black Converse All Starshe bought just for the party. And that will definitely not be okay!ALL. Reason number 19!MIA. Overgrown zucchini. (Everyone looks at MIA quizzically. MIA just stares out, nodding her head at her own wisdom. After a moment, all turn out to the au- dience again.)ALL. Reason number 20! (This section—“The Legend of Mort”—should be delivered with the flavor of a ghost story told around the campfire. These first repeated
  37. 37. 30 Reasons Not To Be in a Play 39 words, for instance, should sound like an overdone, spooky echo ef- fect.)ALANA. Because…M 1. Because…M 2. Because…M 3. Because…ALANA. Of the legend.M 4. The legend!M 5. The legend!M 6. The legend!ALANA. Of …M 7. Of…M 8. Of…M 9. Of…ALANA. Mortimer Blackburn!ALL. Mort!ALANA. Mort, or so the legend goes, was once a normal child.MORT. Hello. I’m Mort. I’m normal. Pretty much. I like Oreos andvideo games and females, not necessarily in that order.ALANA. One creepy evening with a full moon lurking in the air,Mort was approached by a shady character with a tempting propo-sition.GORDON. Hey, Mort, come here.MORT. Oo, you look shady.GORDON. It’s just the moonlight. It plays with my complexion. (We hear the sound of a wolf in the distance.)MORT. What was that?
  38. 38. 40 Alan HaehnelGORDON. Nothing. Just an ominous wolf signaling impendingdanger.MORT. An ominous wolf, huh? They’re endangered, aren’t they?GORDON. Listen,ALANA. Said the Shady character,GORDON. You’ve got a good look.MORT. I do?GORDON. You’ve got a good voice.MORT. I do?GORDON. You’ve got a good walk.MORT. I…really?GORDON. Mort, I want you to be in a play.MORT. Why would I do that? I’m normal. Pretty much.ALANA. But the shady character seemed to know just how to get toMort. It was almost as if he could get inside his mind!NORM. Noooooo! A mind getter-insider-er! He was one of thoseguys who gets inside your mind and then he knows what’s insideyour mind almost as if he was inside your mind!ALANA. Yes. One of those.NORM. Noooo!GORDON. Why would you want to be in a play? Because in thegreen room we play video games and eat Oreo cookies.MORT. Oh?GORDON. And you’d be an actor. Females dig that.MORT. I’m in.NORM. He got inside Mort’s miiiind!ALANA. (To NORM:) Do you mind?NORM. (Fading off to the side:) Noooo!
  39. 39. 30 Reasons Not To Be in a Play 41ALANA. So Mort met the director.GORDON. Director Frankenburg, this is Mortimer. He wants to bein the play.DIRECTOR FRANKENBURG. Ah, you have brought me anotherone. Well done, Gordon.GORDON. I live to serve, Director Frankenburg.DIRECTOR FRANKENBURG. Mortimer, is it?MORT. Mort. It saves on syllables. I suspect we may be wasting toomany syllables in this country.DIRECTOR FRANKENBURG. Yes, yes. Mort, it is time for youraudition.MORT. My aud…say, that shady guy mentioned something aboutOreos.DIRECTOR FRANKENBURG. Growl, Mort.MORT. Huh?DIRECTOR FRANKENBURG. Growl.MORT. You mean, like—grrr?DIRECTOR FRANKENBURG. Yes! Yes, I sense potential! Again!MORT. Grrrr.DIRECTOR FRANKENBURG. You are a natural!MORT. Do I get the part?DIRECTOR FRANKENBURG. Yes. You are Bowser!M 1. Bowser!M 2. Bowser!M 3. Bowser!MORT. Boy, this place echoes.ALANA. Bowser. Little did Mort realize at that moment the enor-mous impact that name would have on the rest of his life.
  40. 40. 42 Alan HaehnelNORM. How could he have known? He didn’t know! His life wasfull of non-knowing!DIRECTOR FRANKENBURG. Who are you, Mortimer?MORT. Well, since you called me by my name, I pretty much figureyou already know the…DIRECTOR FRANKENBURG. You are Bowser!M 4. Bowser!M 5. Bowser!M 6. Bowser!MORT. Right. Now, about those crème-filled chocolate cookies Imentioned earlier…DIRECTOR FRANKENBURG. We must rehearse! Gordon!GORDON. Yes, Director Frankenburg?DIRECTOR FRANKENBURG. Bring out…the other actors!GORDON. Yes, Director Frankenburg.MORT. Hey, Shady Guy—Gordon, right? Where is this green roomyou were talking about with all the cookies and the video… (But GORDON has already exited.)ALANA. Little did Mort know that he had entered into the realm ofthe notorious Director Frankenburg who required from his actorsnothing less than complete and abject devotion. Poor Mort.NORM. Poor Mort. Poor, poor, poor Mort. Mort the poor. Poor as aMort could be. Oh, Mort, how poor you are!ALANA. (To NORM:) Do you make a habit of being annoyinglyrepetitious?NORM. I pity Mort for his poor poverty. (GORDON enters with three actors in tow, all staring straight ahead and walking like zombies.)
  41. 41. 30 Reasons Not To Be in a Play 43GORDON. Actors, come! Director Frankenburg desires your pres-ence!MORT. Gordon, there you are. I was looking for the directions tothe green room and the video games. (Noticing one of the actors:)Hey, she’s a female. Is she going to dig me?DIRECTOR FRANKENBURG. Silencio! Act 1, scene 2, my actors. (The actors immediately jump to their places, staring off into the dis- tance with looks of deep concern on their faces.)ALANA. Suddenly, Mort, once a jovial…NORM. Jovial Mort!ALANA. And free…NORM. Mort the free! Free Morty!ALANA. (To NORM:) Do you think you’re helping me tell this leg-end?NORM. I believe I am adding dramatic emphasis in key moments,yes.ALANA. You’re not.NORM. Who says?ALANA. I do along with three of my largest and most aggressivefriends who happen to be standing right behind you. (NORM turns to see that three large and aggressive people are be- hind him, looking threatening.)NORM. (Slinking away:) And he fades quietly into the shadows, theshadow-fading shadow guy, good-bye. (ALANA’s three big friends exit as ALANA turns back to the audi- ence.)ALANA. Suddenly Mort, once a jovial and free teenaged individ-ual, found himself in the midst of a play peopled by actors devotedto and virtually hypnotized by their ostensibly helpful but actuallytyrannical director!
  42. 42. 44 Alan HaehnelDIRECTOR FRANKENBURG. (Regarding his actors, posed to per-form:) Excellent, my pets. Now, bring me Bowser. Bowser!MORT. (To GORDON:) Jeez, he gets kind of loud, doesn’t… (GORDON grabs MORT by the ear and drags him to DIRECTOR FRANKENBURG.)MORT. Hey, ow! Wait a minute! Yeouch! Let go of my ear, youshady character, you!DIRECTOR FRANKENBURG. Ah, my beautiful Bowser. You shallbe in this scene.MORT. You know what? I’m kind of thinking that maybe I’ll skipthe Oreos and the…ALANA. But it was too late! He had been caught and cast by Di-rector Frankenburg!NORM. (Hidden:) Caught and cast! A cast and caught character! Oh,no! Say it isn’t so! Mort the… (One of ALANA’s aggressive friends strides on and drags NORM out of his hiding place.)Hello. I am Norm who never just said any of that and never justwill ever again. (The friend pushes NORM offstage as the action continues.)DIRECTOR FRANKENBURG. (Bringing MORT to a spot next to theactors:) This is your place, Bowser. This is your destined spot in thisscene. Get down on all fours.MORT. Hey, you know what? I think I hear my mother gettingready to call me.DIRECTOR FRANKENBURG. Down, Bowser, like the very dogyou are!MORT. (Obeying:) Okay, well, sure, for a second.DIRECTOR FRANKENBURG. Now, my actors—begin the scene! (All of the acting is extremely overdone. MORT looks lost in the scene, wondering what he is supposed to be doing.)
  43. 43. 30 Reasons Not To Be in a Play 45ACTOR 1. My gosh, look at that!ACTOR 2. Yes, yes, it is incredibly alarming!ACTOR 3. Won’t someone do something?DIRECTOR FRANKENBURG. Stop! Stop the scene! (The actors stop speaking but continue looking out with great inten- sity.)Bowser, what are you doing?MORT. I’m…I’m down on all fours in my destined space besidethese actors…DIRECTOR FRANKENBURG. Bowser, you are a dog.MORT. Well, sure, I mean, that’s the part I’m…DIRECTOR FRANKENBURG. You are the loyal companion tothese people as they journey through a dark and treacherous forest.MORT. Dark and treacherous. Cool. Do we get a cookie breaksoon?DIRECTOR FRANKENBURG. You sense danger. How do yousense it, Bowser?MORT. Uh…I get an e-mail?DIRECTOR FRANKENBURG. No.MORT. Text message?DIRECTOR FRANKENBURG. Bowser, listen to me.ALANA. Thus did Mort begin to become ensnared in a net of evilmagic. Unwittingly, innocently, lured in by his boyish desires, Mortwas now in the clutches of a master of psychological manipulation,a magician of theatrical hypnosis—Director Frankenburg!NORM. (Running onto the stage:) Run, Mort! Run from the magicianof masterful manipulation! Don’t get ensnared in the snares of thesnaring… (Runs off pursued by ALANA’s friends:) See ya!MORT. You know, this has been fun and all, but…
  44. 44. 46 Alan HaehnelDIRECTOR FRANKENBURG. You sense the danger through yournose, Bowser—your nose! Do you hear me?MORT. My nose. Check. Gotcha.DIRECTOR FRANKENBURG. This is not about acting. I am notasking you to act.MORT. You’re not? That’s great, because I’m getting kind of…DIRECTOR FRANKENBURG. I am asking you to be. Be Bowser.Be the dog. Get in touch with your noble connection to the long ca-nine lineage, to the apex of your doggie genealogy. Bowser, youmust find and celebrate your inner wolf! When you sense danger onthe wind, your nose is connected to the noses of the roaming packsof wolves that inhabited this land long before man ever saw it. Youare Bowser—Bowser the wolf-hearted, Bowser the brave, Bowserthe fearless! What do you sense, Bowser?MORT. I sense…I smell…ALANA. At that moment, Mort stood on the precipice, the chasm atthe edge of sanity—and he plummeted in!NORM. (Off:) Don’t plummet, Morty! Stay away from the edge!Don’t step off the… (Sudden cut off with a choking sound.)DIRECTOR FRANKENBURG. Be Bowser!MORT. I smell danger!DIRECTOR FRANKENBURG. And what do you do when yousmell danger? (MORT growls, then barks.)DIRECTOR FRANKENBURG. Good. Wonderful! I knew you hadit in you! Actors, begin the scene again! (The actors snap back into the scene. This time, MORT is focused.)ACTOR 1. My gosh, look at that!ACTOR 2. Yes, yes, it is incredibly alarming!ACTOR 3. Won’t someone do something?
  45. 45. 30 Reasons Not To Be in a Play 47 (MORT growls as he looks out in the same direction as the actors, then barks.)DIRECTOR FRANKENBURG. Good, but I sense we could buildgreater intensity into the moment. Bowser, can you give more? (MORT growls and yips in the affirmative.)Excellent. Again! (The actors and MORT begin the scene again, taking their focus to an absurd level.)ACTOR 1. My gosh, look at that!ACTOR 2. Yes, yes, it is incredibly alarming!ACTOR 3. Won’t someone do something? (MORT growls and then begins barking wildly and fiercely.)DIRECTOR FRANKENBURG. He’s alive! Bowser is alive! (The actors and DIRECTOR FRANKENBURG exit as MORT sniffs around the stage, completely absorbed in his canine role.)ALANA. You can guess the rest. Not only did Mort become Bowserfor Director Frankenburg’s play, but…he became Bowser, period.He no longer craved Oreos, but rawhide chews; not video games,but running cats; not females of the human variety, but bi…you getthe idea. (MORT-as-Bowser runs offstage, apparently in amorous pursuit.)ALANA. Ultimately, Mortimer took Dr. Frankenburg’s call of thewild so seriously that he became just that: Wild. Uncontrollable. Fe-rocious.NORM. (Off:) Mort? Mort! Down, Mort, down! Back away! Mort,no! Don’t… (Amidst the sound of MORT’s attack, we hear NORM’s scream.)ALANA. Perhaps it’s only a legend. Perhaps none of it ever hap-pened. But on a quiet night, near a certain theater, people swearthey can hear the faraway call of a wolf… (MORT howls from offstage.)
  46. 46. 48 Alan Haehneland, oddly, they remember a fairly normal boy they used to know.A boy who mysteriously disappeared. A boy by the name…M 1. The name.M 2. The name.M 3. The name.M 4. The name.ALANA. Of…M 5. Of.M 6. Of.M 7. Of.M 8. Of.ALANA. Mortimer Blackburn!ALL. Reason number 21!BUTCH. Because when you’re in a play the makeup people some-times tell you, a guy, you have to wear lipstick and blush. (Beat.)And they never have the colors that set off your natural skin tones.ALL. Reason number 22!MIA. Conjunctivitis. (After another puzzled pause, NATE speaks.)NATE. Uh, Mia?MIA. (Harsh:) What?NATE. Never mind. Conjunctioniviatis or whatever.MIA. Conjunctivitis.NATE. Right.ALL. Reason number 23!BECCA. Because you’ve got a little sister, three years old. Youwatched her last night when your mom was trying to get her to eather peas.
  47. 47. 30 Reasons Not To Be in a Play 49MOM 2. Come on, Sweetie; eat the little green things. They’re goodfor you.BABY. No.MOM 2. You like peas. You ate them all up last time. They’ll makeyou grow big and strong. Here come the peas, Honey. Open up,now.BABY. No! No, no, no!MOM 2. What’s the matter? Why don’t you want the peas?BABY. I don’t want yucky peas!MOM 2. They’re not yucky. You like peas. Why won’t you eatthem?BABY. Don’t wanna! Don’t wanna!MOM 2. You have to eat the peas if you want some dessert.BABY. Don’t wanna! (Throwing a tantrum:) I don’t want yucky peas!No, no!BECCA. You watched your little sister throw a fit over the peas andyou thought, “That’s a beautiful thing.” No reasoning, no logic, justpure reaction.MOM 2. Honey, why are you doing this!?BABY. I hate peas! I hate them! Waaaa!BECCA. You think, “Wow, wouldn’t that be nice, to go back to thatway of thinking?” Somebody comes to you and asks you to dosomething and your first thought, for no reason at all, is, “No. Idon’t wanna.” And you go with it.DIRECTOR: You should be in a play.NORM. No.DIRECTOR: Why not?NORM. Don’t wanna.DIRECTOR: But it’ll be good for you. You used to like being inplays. It’ll help you grow big and strong.
  48. 48. 50 Alan HaehnelNORM. No, no, no!DIRECTOR: Why not?NORM. Because I don’t wanna! I don’t wanna because I don’twanna.DIRECTOR: That’s no reason.NORM. Don’t wanna, don’t wanna, don’t wanna!DIRECTOR: Everyone, Bobby is being completely unreasonable.Come on, let’s be in a play.ALL. (Falling down into a mass tantrum:) Waaa! No play! Stinky play!Yucky play! Waaa! (Suddenly, it all stops.)BECCA. Wasn’t that beautiful?ALL. Reason number 24!JOHN. Because when you’re doing stuff in the play, you might hurtyour left-hand pinky finger. Yeah. And you know, you never know,but the way science is going, you have a pretty good idea thatsomeday they’re going to come out and say that the whole key toyour entire health system isn’t your lungs or your heart or yourspine or your brain…it’s your left-hand pinky finger. And you’ll bereally old and feeling really crummy and you’ll hear the sciencepeople say that and you’ll look at your ruined left-hand pinky fin-ger and you’ll say, “Rats! That darned play. Rats, rats, rats!”ALL. Reason number 25!LISA. Because, generally, you are very even-tempered. However,there is a spot, buried deep down within you like lava inside theearth, where your anger li…GREG. And a certain thing that can happen when you are in a playis like a drill reaching that dangerous place inside you.LISA. Yes. Exactly. This trigger, this drill, if you will, is somethingcalled stepping on li…
  49. 49. 30 Reasons Not To Be in a Play 51GREG. You have your lines in the play, of course, and other actorshave their lines. They are supposed to happen in a set order. Whenone person is done with her line, the next person should come in.LISA. But when an actor gets anxious—or perhaps selfish—he willcome in too quickly, thus cutting off the very last word you aresupposed to s…GREG. It’ll drive you crazy, this stepping on lines. You, once a saneand calm person, will feel yourself starting to boil.LISA. Yes. And when you boil, when this lava inside has beentapped, your voice starts to get higher and higher and louder andloud…GREG. The tension will build like a pressure cooker until—to yourutter embarrassment and the audience’s utter shock—you’ll justhave to scream…LISA. STOP STEPPING ON MY LINES!!ALL. Reason number 26!MIA. Half inch plywood.NATE. Um, Mia?MIA. Hello, Nate. How odd and entirely unnecessary of you to ad-dress me at this particular moment.NATE. Well, uh…MIA. When we should, for the sake of pace, be moving on withmaximum expediency to the announcement of our next reason,n’est pas?NATE. Sure, but…MIA. Unless you have made it a top priority to question the verac-ity of the reasons I have proposed so far.NATE. I was just hoping…MIA. Because such questioning would indicate a lack of trust in me,which trust is the very cement that holds any organization together.NATE. Mia.
  50. 50. 52 Alan HaehnelMIA. Do you not trust me, Nate?NATE. No! I mean, not “no” that I don’t trust you, but “no” that Idon’t not trust you, or, I mean…MIA. Perhaps you think my reasons are akin to Jake’s insipid andrepeated “Plays suck.” Is that it?JAKE. Hey! I don’t know what insipid means, but I’m pretty surethat weren’t a compliment.MIA. Do not tax yourself, Jake.JAKE. Yeah, well, you know something, Mia? You suck!MIA. Oo, I am hurt. You have wounded me to the very core.JAKE. You think you’re so…NATE. Jake, go lie down. Relax.JAKE. But she’s…NATE. Re-lax.DAL. What I think Nate is trying to say, Mia, is not that he doesn’ttrust you, but that he, and many of us, and perhaps many of thesepeople (Indicating the audience:) are curious about the reasons youhave presented. They are fascinating, but just a bit cryptic. Wouldyou care to tell us more?MIA. Is that what you meant, Nathaniel, or did you simply notknow how to broach your distrust of me until Dal swept in and ex-onerated you with her euphemistic phraseology?NATE. Uh…MIA. Are you hoping that Dal just rescued your sorry hide, Nate?NATE. Kind of, yeah, but what I…MIA. As I thought. So be it. At the risk of insulting various intelli-gences up here and (Indicating audience:) out there, I will elucidatehow my reasons for not being in a play are not only valid, but ab-solutely correct. My first reason—Abraham Lincoln. Long recog-nized as one of our greatest presidents, Mr. Lincoln was killed in
  51. 51. 30 Reasons Not To Be in a Play 53the theatre, by an actor, after watching a play. Does that make sensenow, Nate?NATE. Mia, I never said I didn’t tru…MIA. My second reason—overgrown zucchini. At various points inhistory, audience displeasure at a poor theatrical performance hasbeen expressed by the throwing of over-ripe vegetables. Given thecyclical nature of fashion, such a tradition could well return. And if,while performing in a play, one were clobbered by a vegetable assubstantial as an overgrown zucchini, one might be rendered un-conscious, perhaps even comatose. Any questions, Nate?NATE. No, that’s great, but…MIA. Mia’s reason the third—conjunctivitis. Also colloquiallyknown as pink-eye, this highly contagious and irritating maladycan be easily spread amongst cast members of a play because theyfoolishly, wantonly share mascara in preparation for stage appear-ance. Satisfactory, dear Nathaniel?NATE. Mia!NATE. And my final reason—half inch plywood. One common er-ror in theatrical construction, when amateurs rather than profes-sionals are often engaged, is the utilization of too-thin plywood forthe construction of standing surfaces, otherwise known as plat-forms. Specifically, these novices will construct platforms of ½ inchrather than ¾ inch plywood, thinking that a ¼ inch will not muchmatter. But when these insufficiently-supported platforms are ele-vated several feet above the stage floor and are overloaded by toomany uninformed actors, that ¼ of an inch of insufficiency maywell cause them to plummet to the stage, injured not only by the fallbut by the lethal shards of wood and metal that might impale themon the way down! Nathaniel, are you now satisfied that my asser-tions are, in fact, valid reasons not to be in a play?NATE. Mia.MIA. What?NATE. It’s not that I doubted your reasons. They were just tooshort. I wanted you to say more because I really love your voice.
  52. 52. 54 Alan HaehnelMIA. You…you like my…NATE. I love it.MIA. Well. Then. Indeed. This, uh, might well lead us naturallyinto another reason entirely.ALL. Reason number 27!MIA. Because, during the course of your involvement in a play, youmight suddenly be caught off guard by an unexpected…connectionwith another actor.NATE. Keep talking. Please keep talking.MIA. And your previously impervious intellect might suddenly beperforated by an unusual sensation.NATE. “Perforated.” Beautiful word. Beautifully said.MIA. You, once priding yourself on your logical detachment, mightfind yourself unexpectedly…breathless.NATE. And?MIA. Faint.NATE. Oh, yeah?MIA. And flooded with…with…oh, Nate!NATE. Oh, Mia!ALL. (Getting between the two of them:) Oh, no you don’t! (Pause.)Reason number 28!ZACH. Because at your school, this year, four key elements arepoised to combine to spell out the destruction of the entire civilizedworld.JOE. The entire…?ZACH. Civilized world.JOE. That sounds like pretty much the biggest reason I’ve everheard.CLAIRA. That’s, like, a three-pointer!
  53. 53. 30 Reasons Not To Be in a Play 55ZACH. Agreed. We need to start again.ALL. Reasons number 28, 29 and 30! (Note: For this section, the names of the school and the town where the play is being performed should be substituted for the names Blankville High and North Wherever, respectively.)ZACH. Because at your school, this year…JOE. They’ve heard it.ZACH. (Very quickly until the word “world”:) Four key elements arepoised to combine to spell out the destruction of the entire civilizedworld.CLAIRA. Whoa.ZACH. Yes. Like highly reactive chemicals in a laboratory restingshelves apart, four dangerous events occurred, all centering onBlankville High in Blankville, North Wherever. First dangerousevent: Three devious and ingenious techies are seniors at BlankvilleHigh School—known within their elite circle as Pyro, Flame andNitro.PYRO. Dude, we’re seniors.FLAME. Dude, we own the auditorium.NITRO. Dude, we know the technology.PYRO, FLAME, NITRO. Dude, this is our year to rule!ZACH. Second dangerous event: The director of the Nowherevilledrama department, Mr. Morton, wants a spectacular ending to themusical.MR. MORTON. I want people to be astounded. I want them to bepractically blasted out of their seats. I want the final seconds of thisshow to be one of the high points of the audience members’ lives! Iwant to be a legend!ZACH. Third dangerous event: Corabelle Ammel—97 years old,born and raised in Blankville, North Wherever—has released thesecret ingredient…CORABELLE: Just a pinch of vinegar—that’s the key!
  54. 54. 56 Alan HaehnelZACH. …to her famous whoopee pies to her daughter, MarilynGrayson, who baked a large batch of the confections for her grand-daughter, Dana Nickleson, who brought them to the bake sale forthe high school drama department.DANA. Try my great-grandmother’s recipe for whoopee pies.They’re great.WHOOPEE 1. Aw, a whoopee pie is a whoopee pie is a… (Tasting:)Holy Toledo, these are amazing! (Others come crowding around, clamoring.)WHOOPEE 2. Give me one!WHOOPEE 3. I want a dozen!WHOOPEE 4. I’m addicted! I have to have another!DANA. Everybody wants the whoopee pies! What do we do?BOB. Supply and demand, Dana—charge ’em five bucks a pie!WHOOPEE 1. I’ll give you ten!WHOOPEE 4. Twenty! Give me that whoopee pie!ZACH. Fourth dangerous event: The tiny, previously unknown is-land nation of Istanochinoturkistanastan has decided to form a gov-ernment and assert itself on the world stage as a force to be reck-oned with. (Three ISTANOCHINOTURKISTANASTANIANS speak pas- sionate gibberish to one another.)Though Istanochinoturkistanastan has virtually no exports and notthe slightest inkling of a viable economy, it does happen to havenuclear long-range weapon capability. (The ISTANOCHINOTURKISTANASTANIANS, still speaking gibberish, take out a manual, flip through it until they find the page they want, then say, all together: Boom!)The Istanochinoturkistanastanians have decided that the quickestway to make their mark would be to declare war. Having nogrudges whatsoever against any other nation on Earth, they arecurrently engaged in searching for an enemy.
  55. 55. 30 Reasons Not To Be in a Play 57 (The ISTANOCHINOTURKISTANASTANIANS spin a globe of the world. They stop it several times, discuss the chosen spot in gib- berish, ask “Boom?” then shakes their heads and spin again.)ZACH. How, you might well ask, are these four elements related?Furthermore, how could they possible combine to spell out the…ZACH AND JOE. (Together:) The destruction of the entire civilizedworld?JOE. We got that point.ZACH. It’s is a very big point.JOE. Granted. Please continue.ZACH. Observe the chain of events that has brought these elementstogether. First, Mr. Morton approached Pyro, Flame and Nitro withhis vision.MR. MORTON. I’m looking for the finale of all finales, gentlemen.PYRO. Are we talking major lightage, Mr. Morton?MR. MORTON. Lights galore, Pyro.FLAME. Are we talking special effects, Mr. Mort.?MR. MORTON. The bigger the better, Flame.NITRO. Are we talking pyrotechnics, M.M.?MR. MORTON. Pull out all the stops, Nitro.PYRO, FLAME, NITRO. Awesome!PYRO. Wait, Captain Eminator, what kind of budget are we look-ing at?MR. MORTON. The usual.PYRO, FLAME, NITRO. Bummer!ZACH. At this moment, however, Dana Nickleson made the secondcrucial connection.DANA. Mr. Morton, Mr. Morton!MR. MORTON. Dana, what is it?
  56. 56. THIS PLAY IS NOT OVER!In order to protect our associated authors against copyrightinfringement, we cannot currently present full electronicscripts.To purchase books with the full text, and to apply forperformance rights, click ORDER or go back to: www.playscripts.com